University Degree: Other Play Writes
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Demonstrations of power from Creon and Prospero play a very pivotal role in the plots of The Tempest by William Shakespeare and "Antigone" by Sophocles, two plays about power relations.
Throughout the course of the play, Creon abuses his power despite being warned of wrong doings. The play even begins with Creon abusing his power when he settled a decree that prohibited anyone from burying Polyneices' dead body, decreeing that "He's to have no funeral or lament,/ but to be left unburied and unwept," (Sophocles p.10). Creon is proud of his decree, and he also states that he would be a good king by listening to what people had to say concerning his decisions.
- Length: 1032 words
Jean Anouilh's translation is a clear example of how the political messages in the play are highly transferrable into twentieth century situations. Anouilh's Antigone was produced in 1944 in Paris, when the country was in the grip of the Second World War, and occupied by the German army. Nazi regime was highly oppressive, with Hitler taking an extreme dictatorial position and in Sophocles' Antigone, Creon is also presented in this way when being described by Antigone herself, as a supreme ruler: 'Whoever disobeys in the least will die, his doom is sealed: stoning to death inside the city walls!'
- Length: 1603 words
"His work is often so formless."1 Brander Matthews believes that Aristophanes used little structure in all of his plays. However, the structure of Lysistrata is far looser than Aristophanes previous plays especially because it contains a very short 'parabis.' It could be perceived from this, that Aristophanes thought that the play's message spoke for itself without his moral intrusion through the chorus. The 'agon' in Lysistrata is never developed and the story propels not by stopping to debate the issue of the power handled by the women. This use of very little structure demonstrates Aristophanes disregard for formality in his comedies, hence since he used simple plots, parody was employed to progress the story.
- Length: 1794 words
The world does not grant them any fame; pity and justice alike disdain them. Eternal penalty for the sin of neutrality, of never taking a stand and risking the pain involved in showing one's true self, is to be exposed in totality and suffer deadly pain in perpetuity as evidenced in lines 64-66: These wretches, who had never really lived, were naked and stung constantly by hornets and wasps that were there. Circle one of Hell is reserved for those whose only crime is living before Christianity and therefore not worshipping God as is deemed proper by God.
- Length: 4128 words
She is already anticipating a brutal act is to follow, 'I am afraid/Some dreadful purpose is forming in her mind' (line 36-37). These monologues, as exemplified by the nurse, are important in setting the scene of plays. The character does not talk directly to the audience but speaks their mind out loud. In this opening stanza we also see the nurse persuade a fellow (male) slave, the Tutor. This feminine 'persuasion' of men is a theme that runs through both plays.
- Length: 1538 words